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Making Their Way through the World: Italian One-Hit Wonders

Making Their Way through the World: Italian One-Hit Wonders HILARY PORISS Italian One-Hit Wonders Making Their Way through the World: Italian One-Hit Wonders HILARY PORISS In 1828 the soprano Adelaide Tosi performed an entrance aria during the rst act of Rossini’s Otello, even though the composer had intentionally excluded such a number from his opera. Like many of her contemporaries, Tosi had chosen to “correct” the composer’s “oversight.” Perhaps to make these opening moments as memorable as possible, she juxtaposed two numbers, neither of which came from Rossini’s hand: she performed a slow movement from Meyerbeer’s Il crociato in Egitto and a cabaletta from Nicolini’s Il Conte di Lenosse.1 Taken at face value, this substitution seems unsettling. Not only did she ignore Rossini’s vision for Otello in favor of the shopworn convention of the entrance aria—a custom with which the composer himself had become very familiar, A truncated version of this article was presented at the Annual Meeting of the American Musicological Society, Kansas City, Missouri, in November 1999. I am grateful to Philip Gossett, Roger Parker, and James Hepokoski for their thoughts and advice. Additionally, I wish to thank Luigi Ferrara at the Cini Foundation, Venice, for his assistance with the vast number of librettos housed http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png 19th-Century Music University of California Press

Making Their Way through the World: Italian One-Hit Wonders

19th-Century Music , Volume 24 (3) – Apr 1, 2001

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Publisher
University of California Press
Copyright
Copyright © by the University of California Press
Subject
Research Article
ISSN
0148-2076
eISSN
1533-8606
DOI
10.1525/ncm.2001.24.3.197
Publisher site
See Article on Publisher Site

Abstract

HILARY PORISS Italian One-Hit Wonders Making Their Way through the World: Italian One-Hit Wonders HILARY PORISS In 1828 the soprano Adelaide Tosi performed an entrance aria during the rst act of Rossini’s Otello, even though the composer had intentionally excluded such a number from his opera. Like many of her contemporaries, Tosi had chosen to “correct” the composer’s “oversight.” Perhaps to make these opening moments as memorable as possible, she juxtaposed two numbers, neither of which came from Rossini’s hand: she performed a slow movement from Meyerbeer’s Il crociato in Egitto and a cabaletta from Nicolini’s Il Conte di Lenosse.1 Taken at face value, this substitution seems unsettling. Not only did she ignore Rossini’s vision for Otello in favor of the shopworn convention of the entrance aria—a custom with which the composer himself had become very familiar, A truncated version of this article was presented at the Annual Meeting of the American Musicological Society, Kansas City, Missouri, in November 1999. I am grateful to Philip Gossett, Roger Parker, and James Hepokoski for their thoughts and advice. Additionally, I wish to thank Luigi Ferrara at the Cini Foundation, Venice, for his assistance with the vast number of librettos housed

Journal

19th-Century MusicUniversity of California Press

Published: Apr 1, 2001

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